Winter 2020
Luke Brindley, "Thin Spaces," 2020
Thin Spaces is a rare completely solo fingerstyle instrumental album from a criminally talented singer songwriter and composer. Brindley's musical journey reads like a template for how to survive and succeed in the business.
He's played open mics and clubs, done session work in Nashville, been a member of band and a duo (the Brindley Brothers) and, for the past nearly two decades, run Virginia music venue Jammin Java with his brother.
His previous highly regarded CDs feature his distinctive vocals and lyrics and a cast of highly regarded guest musicians supporting his impeccable fretwork. Here, at the urging of producer and renowned guitarist El McMeen,
he flies completely solo. And fly he does. While his easeful virtuosity is much in evidence, his focus is primarily on the expressive qualities of the guitar (he plays a 12-string, a Dobro, and a Circle Strings OM 6-string),
showcasing a range of colors (listen to the gorgeous "Lament for Scott"). Brindley includes four covers, two of them gospel - a jaunty Travis-picking fingerstyle version of "When We Rise" and a resonant plunkety "Where Could
I Go," as well as two standout pop songs. On his tender arrangement of Bonnie Raitt's "I Can't Make You Love Me," his Acoustaglide steel slide wrests every last drop of emotion. Equally evocative and, downright
heartbreaking, is his rendition of Journey's "Faithfully." On the 11 original compositions on the album, Brindley displays a range of styles and skills and sensitive nuanced playing. Many of his tunes began as one of
the short videos he posts daily to his 30,000 followers on Instagram, including upbeat "A Little Gift" and "One Bright Morning," peppy tunes punctuated with harmonics, fast runs, and reverby bass; the sweetly melodic
"Song for the Bride"; and the urgent and moody "Stormcloud Blues." There are hints of the Celtic in the bright sounds of "Pegasus Bridge" and "Jeff's Jig" and Middle Eastern flavors in two intricate show-stoppers, the moody
"Obsidian Sea," with a jangly run of single notes and improvised modal sections, and "Desert Prayer," with a thumping rhythm and ominous discordant strumming. Brindley writes that the title of the album reflects how he
feels about his music, and refers to glimpses of the transcendent one may get when there is only "thin space" between heaven and earth. This feeling of transcendence is one that listeners of Thin Spaces are sure to share.
Tomas Sauter, "Glances," 2020
Swiss composer/guitarist Tomas Sauter has recorded in a wide variety of improvisational settings: quartets, trios, duos, even a group with him on electric bass. He has played both electric and acoustic guitars, but this
album is something else: fully composed music played on classical guitar and baritone guitar. "Sunrise Magic" opens the set on classical guitar, a thoughtful, melodic composition that recalls Ralph Towner. That impression
is reinforced by the only cover version on the album--the Rogers and Hart standard "My Romance"--which brings Towner's recent version of "My Foolish Heart" to mind. The baritone guitar makes its first appearance on "Shades
and Shadows," its deep voice and broken chords making an effective contrast. The well-named "Labyrinth" winds its way through a variety of musical gestures, sounding very much like an inspired improvisation. It is easy to
believe that the material was originally developed improvisationally.
With its rapid chromatic cascades "The Hunted" creates a real sense of a chase. "Into the Blue" concludes on baritone with an almost Americana feel. Like the rest of the album it creates an atmosphere that belies the lack
of improvisation: just inspired composition and performance.
Teja Gerken & Doug Young, "Duets," 2020
Both established players and writers on all things acoustic guitar, Teja Gerken and Doug Young have produced a lovely CD together, Duets. Many players know both for their writing for Acoustic Guitar Magazine,
and Teja Gerken is one of the co-founders of the popular online learning portal Peghead Nation. On Duets, the two use 12 different guitars on the 11 songs. While most are 6-string steel string acoustics, they
also use classical, a couple 12-strings, a baritone, a National resophonic, and an Epiphone jazz electric - and all to good effect. The playing is sometimes tight and polished, and other times looser and more organic
in feel. This is not a CD of flash but gentle and nuanced playing and interplay, with some sweet arranging of a few Celtic standards, and even a Beatles tune. The disk begins with "Autumn Roads," gently winding
through a simple melody line with a B part and bridge that complement the overall theme. They do a couple of Celtic songs - "St. Anne's Reel" and "The South Wind." The duet gives them more space to explore various
voices within each song, instead of merely having a solo guitar. On "Her Red Hair" they use octave voicing to create an almost echo effect. The National is used by Gerken on "Seagull," which begins slowly but shifts
into a steady groove. "Travis" has intimations of thumb-style picking made famous of course by Merle Travis; most pickers can trace their own lineage of influences back to Travis. "Study in E Minor" is one of
those tunes that has an organic feel to it, playing around in a non-major key. The CD ends with "Red Snapper," where Gerken uses his Epiphone electric, adding a unique sound to this otherwise acoustic recording.
I enjoy both players on their own; together, it's double pleasure.
Malcolm MacFarlane & Ross Milligan, "Two Rivers Meet," 2020
Malcolm MacFarlane and Ross Milligan's Two Rivers Meet is an eclectic collection of ten acoustically themed compositions. Firmly established in the Scottish jazz scene the two guitarists perform in a variety
of musical settings. Together they have been playing for over fifteen years, as well as joining forces with the Scottish Guitar Quartet and the Royal Scottish National Orchestra. On Two Rivers Meet they produce
an alluring synthesis of New Age, Jazz, and Celtic folk music. "Dancing Water" begins with cascading rhythmic motifs flanked by ambitious, melodic soloing by both musicians. MacFarlane and Milligan have an egalitarian
approach to the music on this recording, collaborating instead of competing with one another. The intricate and intuitive interplay they create is exceptional as they navigate through the lush sonic vignettes on this
release. "Constellation" contains wonderfully executed counterpoint melodies with exceptional jazz soloing. Whereas, the minimalistic "Good Days" slowly builds creating an enchanting sound space. The frolicking
"Where Two Rivers Meet" features upbeat acoustic strumming set against playful electric runs reminiscent of Pat Metheny's ECM recordings. "Waltz for Charlie" eloquently swings with straight ahead jazz comping and
aspiring soloing. The melancholic "Tales of Sorrow" uses the electric guitar as a coloring agent, while the deliberate acoustics carry the melody. "The Shining Levels" incorporates mildly distorted guitar on the
melody with harp like arpeggios on the acoustic. "Highways" is an introspective musical sojourn, where the guitars never loose focus of the rich thematic imagery of the piece. The album culminates with
"Under the Stars," a delicate, lyrical ballad marking an appropriate conclusion to this noteworthy release. Two Rivers Meet contains lush, reflective compositions and masterful playing throughout and is
highly recommended for fans of acoustic music.
Malcolm MacFarlane & Ross Milligan's Bandcamp page
Alberto Lombardi, "The Music of Motown," 2020
Italian guitarist Alberto Lombardi plays steel-string fingerstyle in an extroverted style often rooted in bouncy Travis picking, punctuated by rapid-fire single string runs and bends on the
treble strings - think of a caffeinated Tommy Emmanuel. His playing is harmonically sophisticated, as he incorporates chord voicings and motifs from ensemble recordings of hit songs. The
instrumental arrangements of four Motown classics in this instructional package are loaded with inventiveness and verve. He teaches full performance solo arrangements of "You Can't Hurry Love,"
"My Girl," "I Heard it Through the Grapevine," and "How Sweet It Is To Be Loved By You," which are transcribed in a pdf file included with the video. It's clear from Lombardi's commentary that he's
carefully considered each element of these arrangements, yet the music never seems labored or pedantic. I especially like his great rhythms and chord voicings, and in these he never disappoints.
He'll often say, "Here's the snare," or "Here are the background singers" when demonstrating a passage, referring to the iconic recordings of these songs. As a minor downside, I find some of his single
string runs distracting, since he often breaks rhythm and inserts phrases that seem more appropriate in other genres. But this sort of license is the prerogative of the solo musician and, more importantly,
Lombardi offers a wealth of great ideas from which players can pick and choose. The arrangements are for guitarists who are well grounded in fingerstyle and can play chords and melodic lines up the neck.
A good approach would be to study one piece at a time and use Lombardi's ideas in order to create your own arrangement. So, get your guitar, sit down in front of the video and follow Lombardi as he teaches
one of these pieces - full performance, followed by section-by-section analysis and split screen views showing both of the guitarist's hands. Take a break, then do it again and again, until you've absorbed
his approach and can start making the tune your own. The standout for me is "I Heard It Through the Grapevine," from which he milks every ounce of drama. Alberto Lombardi is a stellar guitarist and teacher.
Here's to a long and successful solo career for him.
Aaron Nathans & Michael G. Ronstadt, "Shadow of the Cyclone," 2020
Have you recently felt like a stranger in a strange land? Shadow of the Cyclone proves Aaron Nathans and Michael Ronstadt understand. They've put together a loosely connected set about folks with that unease.
Their antidote is beauty in eleven exquisitely arranged tunes. Nathans sings in a clear baritone and plays guitar in a variety of tunings. He even takes a tasty electric solo on Ronstadt's "Come on Sun." Nathan's
compositions fall generally in the singer/songwriter mode. Ronstadt, a tenor who plays too many instruments to list here, is best known for cello. His compositions tend toward art songs with elaborate arrangements,
like "Just One Minute," a tale of waiting in an airport cell lot. Nathan's "Ghostwriter" opens, portraying in pertinent detail a Salinger-like author surrounded by reminders ("rusting awards," "typing machine")
but unable to write. Ronstadt on mandolin, cello, and organ supports Nathan's six-string fingerpicking. The next cut focuses on the appeal a "Strongman" (Nathans/Ronstadt) holds for folks facing catastrophe. In the
interludes, the cello reinterprets a slice of the melody against playful percussion. The duo harmonize on the chorus. It's an album highlight. "Haunted House" (Nathans), though lighthearted, continues the theme as the
"I" discovers he is not alone in the home he bought for a steal. It features a surprise ending and Ronstadt stretching out in a spooky bass and cello solo. Next, he uses the instrument to power his "My Only Leap"
(about someone losing his home) in percussive fashion. "Go Low" riffs on Michelle Obama's familiar formula and gives Nathans-singing his heart out-the opportunity to literally go low. It's one of 2 Nathans cuts
exploring the nature of evil ("The Sinner's Bible"). A fine cover of Sting's "An Englishman in New York" gets the Ronstadt treatment with a breakdown featuring a percussive cello solo. Nathans' tuneful
"Carry a Tune" -- another highlight-closes, on an optimistic note. Nathans and Ronstadt invite you into a haunting yet lovely world. Don't be a stranger.
Sean de Burca, "Shapeshifter," 2020
Shapeshifter is an apt title for the volatile fretboard dexterity, acrobatics and sonic alchemy that permeates this release from Sean De Burca. Perhaps, the best way to experience De Burca's infectious talent is
with eyes closed, allowing each of these nine original compositions to envelop the senses with the vibration and percussion of strings and wood, along with harmonics and an occasional pedal effect, becoming a
physical sensation, a journey. The freneticism of De Burca's style is addictive throughout Shapeshifter. "Lost Gardens of Heligans'' opens the album with light and airy riffs, and a bouncing bass line that moves
the melody buoyantly forward. Track two, "Pacific," follows with a similarly airy and jaunty rhythm. The Ska influence mentioned in the liner notes is very evident in these opening tunes as well as in the playful
"Don't Get Comfortable." Things heat up on track four. De Burca's infusion of a metal like intro riff and a bit of Pop Punk beat and power throughout "Kuiper Belt," creates an intensity hinted at in the previous rack.
"Kuiper Belt" is one of three songs performed on a Carillion 000DB 7 string proto-type guitar. Track five, "Warp Drive" ups the ante with high velocity taping, runs and rhythmic syncopation that could cause pacemaker
malfunction. It is easy to hear why he was invited to conduct a masterclass at the United Kingdom Tech-Metal Fest and perform three years in a row. Far more than an acoustic shredder, De Burca is truly a fretboard
alchemist, able to bridge the worlds inhabited by acoustic and electric guitarists seamlessly. The word virtuoso comes to mind. "Escape Vector," the title track "Shapeshifter," and "Battle in The Sky" display a
range of influences including Funk, Jazz, Metal and even early computer game music. De Burca's wide array of influences are a key to his artistry, in that he has the ability to infuse them into his own compositions
with subtlety, aplomb and perhaps, idiosyncraticity. As one of his YouTube followers commented on his video for "Shapeshifter," it is "a veritable Metalousitical masterpiece." And, of course, it is! What else would you
expect from a guitarist Acoustic Guitar Magazine named as one of the greatest acoustic guitarists under the age of 30 worldwide. As with his previous EP release, Mechanism (2015), De Burca offers two versions of
Shapeshifter. The first represents each tune's performance solo finger-style, while the second is a band approach with additional instruments, played by Sean de Burca.
Rev. Gary Davis, "See What the Lord Has Done For Me," 2020
The Reverend Gary Davis, born in 1896, is a giant in fingerpicking blues guitar and folk blues. Born partially blind, he completely lost his eyesight in his teens. Self-taught on guitar starting at age 6, his
distinctive style influenced countless artists and students who followed him, including Bob Weir, Jorma Kaukonen, David Bromberg, Dave Van Ronk, Ernie Hawkins, Eric Von Schmidt, Larry Campbell, Bob Dylan, Blind
Boy Fuller, Stefan Grossman, Roy Book Binder, Ry Cooder, and many, many others. This three-CD collection is a musical snapshot that reveals recordings that Davis made shortly before his death in a series of informal
1968-70 sessions on a tape recorder that bluesman Ernie Hawkins borrowed to preserve the work of his friend, spiritual advisor and mentor. The recordings, 35 tracks in all, are essentially solo with Davis' inimitable
raspy vocals, strong and powerful, and of course his big sounding guitar and sure-fingered picking. Davis performs on his own Gibson J-200 and on a borrowed Martin D 12-35. While admittedly low-fi, the fine production
by Stefan Grossman brings an immediacy and intimacy to the work. It is fascinating to hear Davis get into a groove and just live in it, just rolling with it, fully engaged and sounding like he could busk on for hours
and hours on a street corner. His guitar work is like a living, breathing textbook. And while this collection is probably not the best entree into Davis' work - as there are many stellar albums in his catalog - as a
historical document, it's just remarkable. We are treated to a touching version of "See What The Lord Has Done For Me," which the liner notes say that Davis only began composing three weeks prior - so we see that he was
still actively writing new music in 1970. Traditional songs such as "Blow, Gabriel," at 12 minutes, and Crucifixion, at 20 minutes, stretch out and soar along. Davis originals such as "Penitentiary Blues," "Let's Go Down
To Betty's" and "Walking Blues" serve as travelogues into Davis' hardscrabble early life. Throughout, it's as if Davis performing in the same room, playing his heart out - as he always did. Perhaps what would have made
this set even more stunning would have been the inclusion of what must have been a wealth of asides, discussions, observations and general life thoughts, which one would think may have been captured over the two years of
recording this brilliant and insightful artist. Davis, who was ordained as a minister in 1933, turned more toward inspirational gospel music at that time and continued to record. However, his career was elevated in the
1960s as America turned its attention to the folk revival. He performed at the Newport Folk Festival, and Peter, Paul and Mary recorded his "Samson and Delilah," and the Grateful Dead later covered his "Death Don't Have
No Mercy." He truly is an American treasure. The set also includes an extensive PDF booklet located on Disc 1 with detailed notes on the songs by William Ellis and memories from Ernie Hawkins of his time and lessons
with the Rev. Davis.
©
Céline Keating
Buy it at Bandcamp
Listen to "First Dance"
Listen to Luke Brindley at our podcast 
©
Mark Sullivan
Buy it here
Listen to "Sunrise Magic"
©
Kirk Albrecht
Teja Gerken & Doug Young's Website
Buy it at Amazon.com
Listen to "Autumn Roads"
©
James Scott
Buy it at Bandcamp
Listen to "Where Two Rivers Meet"
©
Patrick Ragains
Buy it at SGGW
Listen to "The Music of Motown" at YouTube
©
David Kleiner
Aaron Nathans & Michael G. Ronstadt's Website
Buy it at Amazon.com
Listen to "Come on Sun"
©
James Filkins
Buy it at Amazon.com
Listen to "Pacific"
©
Fred Kraus
Buy it at Amazon.com
Listen to "Hesitation Blues"
Listen to Gary Davis at our podcast